What is the Tomatometer®?

The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is 59% or lower.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

The publicity, hype and fan attention from the genius cliffhanger of "Who Shot Mr. Burns?" was at fever pitch, but the show's status as a self-aware comedy meant that pretty much any answer would be a good one.&dash; AV Club - EDIT

The show's ignorance feels totemic, though-there's nothing wrong with poking fun at younger folk, of course, but it's can't be the premise of an entire television series, certainly not one with any hope of a future.&dash; The Atlantic - EDIT

Still, if you're a fan of Unbreakable Kimmy Schmidt, as I am, you won't come out fully disappointed. The show still has its usual wacky appeal, dialed-up performances, and rapid-fire jokes that come and go so quickly that they all but require a rewatch.&dash; The Atlantic - EDIT

After the slightly ponderous opening to the season, I was utterly delighted by this episode, one that I felt had a real respect for the years we've all put into these characters and this wonderfully convoluted world.&dash; The Atlantic - EDIT

"Dragonstone" was the kind of table-setter Game of Thrones always prefers for its season premiere, promising carnage to come but mostly using the first hour to push the pieces into place. And, in this case, to give us a good old-fashioned bedpan montage.&dash; The Atlantic - EDIT

A Year in the Life won't necessarily convert new viewers-like any revival, it's making a play for a loyal fanbase... But as a salvage attempt after Gilmore Girls' original bittersweet ending, it feels wholly justified.&dash; The Atlantic - EDIT

This nakedly political show somehow manages to be free-spirited, rather than dull or polemical; its good intentions often border on goofy naiveté in a way that's charming rather than grating.&dash; The Atlantic - EDIT

Presented with the challenge of finding a suitable conclusion to his dazzling, incomparable 18-hour odyssey Twin Peaks: The Return, the director gave viewers the best of both worlds.&dash; The Atlantic - EDIT

The first hour of Sunday's two-episode finale was as clean an ending as fans could have expected from a series that so often defied the most basic concepts of television plotting.&dash; The Atlantic - EDIT

Sunday's return of Twin Peaks was everything fans might have expected: as confounding, horrifying, and furtive as its co-creator David Lynch's (relatively) recent work, but not entirely lacking in the homespun charm of the original network-TV series.&dash; The Atlantic - EDIT

High Maintenance pulls audiences in by depicting the grinding routine of life, then delighting in the little moments that can still surprise. It's a comedy of human interaction, with a slightly voyeuristic thrill.&dash; The Atlantic - EDIT

Son of Zorn does well to avoid the argument that something has been lost in this new, progressive world-Zorn is very much a buffoon from start to finish-but the gag has nonetheless started to wear thin by the end of the first episode's 22 minutes.&dash; The Atlantic - EDIT

Pitch isn't afraid to lean into the tear-jerking tropes of its genre, or to embrace the Cinderella narrative that SportsCenter hosts love so much. But its main appeal lies in its heroine Ginny.&dash; The Atlantic - EDIT

Season three managed to find a surprisingly cheerful starting point-even if all signs indicate that You're the Worst is once again bravely heading into some grim unexplored territory.&dash; The Atlantic - EDIT

The show's stars, Fred Armisen and Bill Hader, elevate every episode with their performances, but it's a comedy that wrings laughs mostly with its rigorous attention to detail.&dash; The Atlantic - EDIT

Westworld is thrillingly threading a tight needle: It's resolutely aware of its formula while simultaneously trying to puzzle out the dark impulses behind it. If that's the future of the HBO drama, it's an exciting one.&dash; The Atlantic - EDIT

Any Given Wednesday does have some direct-to-camera monologuing, but its host is aiming much gentler humor at an audience of deep sports nerds, and, at least in this opening episode, sticking to his strengths.&dash; The Atlantic - EDIT

Like The Middle or The Goldbergs, the show is a sunny, single-camera comedy with occasional flights of fancy, but like Black-ish, it's not afraid to go after tougher issues in a funny way.&dash; The Atlantic - EDIT

Fear the Walking Dead is already doing a better job than the original of examining how civilization-rather than a small band of survivors-reacts to and evolves during the crisis.&dash; The Atlantic - EDIT

Fear the Walking Dead is already doing a better job than the original of examining how civilization-rather than a small band of survivors-reacts to and evolves during the crisis.&dash; The Atlantic - EDIT

Hollywood has long casually mixed sex and violence in poor taste, but Wicked City feels especially egregious: It's a desperate play to be a dark, adults-only story that comes off instead as purely childish.&dash; The Atlantic - EDIT